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Clarice Lispector's writing conjugates - almost obsessively throughout her entire collection of works - the will of capturing time with such passion that saying what things really are becomes a must. Because of this, probably, her texts will engage us, the readers, into particular narrative processes in which - for instance - rhythm is decided by a climatic diversification of the (apparently) principal events which defy the usual postulates concerning the construction of narratives such as the hierarchical order of actions or the desire associated to that order, so that everything in the text is important and, at the same time, nothing is in these multiclimatic devenir. In this communication I am going to establish a dialogue between Lispector's Agua Viva (1973) with the objective of rewriting a poetic that parallels Literature and painting: "I write you as is I was drawing a sketch before painting. I see words. What I say is pure present and this book is a straight line in space", writes the I to the addressee of Agua Viva in a hybridated sort of letter, canvas and musical piece (because silences also say something and therefore have to be listened) that constitute this story. The poetics of her writing reflects, precisely, on how writing is a temporary and space-oriented aesthetic bounded to the representation of life. "And then I will know how to paint and how to write, after that strange but intimate answer. Listen to me, listen to the silence. What I am telling you is never what I am telling you and yes, it is always some other thing. Find that other thing that runs away from me and yet which I cannot survive without and in which I rest on its shining darkness. An instant leads me insensitively to another and the atopic topic develops whithout a plan but yet geometric, such as the consecutive figures of a caleidoscope" (Agua viva: 16-17).
